Blender Sculpting Tutorial: Full Advanced Creature Creation Workflow

Blender Sculpting Tutorial: Full Advanced Creature Creation Workflow

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00:00
[Music] [Music] hi everyone anzac weinert here for cgboost.com and in this video let's have a look at how to create a high quality sculpting and blender by using some of the new sculpting features going from this simple base mesh to this final result this is a workflow video with a lot of tips and tricks along the way so
00:44
it's more suitable for intermediate users that know blender and the sculpting tools already quite a bit but it can serve as inspiration for everyone of course if you're completely new to sculpting in blender and want to learn the basics and get to a decent level fast i'm currently updating my blender sculpting course for the latest blender version meaning i'm basically recreating it from scratch with many new lessons and chapters the first updated chapters are already up and more is coming soon and the best if you have the course already you get all the updates for free
01:14
check out the link in the video description to learn more for sculpting this creature in this video here i'm using a graphics tablet in my case a wacom intuos pro m and if you're interested in my system specs they are in the description below also you can download the project files for this video here and our regularly updated blender shortcut pdf including all important sculpt mode shortcuts in our resource section at cdboos.com resources the link is as always in the video description and an email is required to sign up this video
01:45
here is a bit longer so check out the timestamps if you want to jump to a specific section and now without further words let's get started [Music] so let's start sculpting something but what well i actually have no idea so let's just steal some ideas from other artists their smart way in general i think let's go with creatures creatures are always nice to sculpt since we can be a bit more
02:16
creative on them and don't need to be anatomy experts well let's go to artstation.com for example and just grab some cool looking creature designs from other artists and put this here into pureref pureref if you don't know this tool it's an awesome tool to quickly put together some reference images for your art you can download pureref for free by the way just go to purerev.com click on download select your platform and here just go to custom amount and enter zero then you can download it for free of course since this is an awesome tool
02:46
consider donating something to support the creators now with some cool references on hand i will not just recreate one of these images here if you don't feel creative at all you can of course do that but then i would recommend to ask the original author for permission in my case i want to take inspiration from some of these creatures and remix them into my own idea for that you can do an ugly sketch if you like but this is not really necessary because we can also create our sketch in 3d
03:18
already when we are creating the base mesh however it's still good to look at the references and pick some parts of these creatures which we like for example what i really liked was this creature here with this big beak on this creature i like the thin upper arms and the big lower arms on this creature i like the horns here i like the general pose of the creature which i wanted to recreate on these two creatures i like the legs and the feet for example and here i got my inspiration for the tail and in the end i also want to give the
03:49
creature some clothing so i have some references for that as well and now with all the references on hand and a rough idea what we want to create let's jump into blender so with my reference open on my second screen let's start blender i'm using the alpha version of blender 2.93 here which gives me some additional features the download link to this experimental build you can find down below in the video description here in blender i start with the sculpting workspace which opens up the sculpt mode immediately and gives us
04:20
this squat sphere to sculpt on right away which we don't use in this case however we leave it there for now and we stay in sculpt mode first we need a proper base mesh especially when you create more complex shapes like we want to do here and the base mesh defines the basic shapes which helps us to adjust the proportions quickly without going into the details just yet let's do this with a new feature the lasso trim tool down here left click and hold on the box trim tool and select lasso trim the main purpose of this tool is actually to cut
04:51
geometry away however we can also use this to create new geometry so up here in the tool settings let's change the trim mode to join the shape orientation we leave at view and we enable use cursor for depth this allows us now to draw a shape from our view and it will generate a shape with the thickness of the brush radius that is why we enable the use cursor for depths option otherwise it will create this super long and thick shapes and the join trim mode which we enabled adds all the new shapes
05:23
inside the same object which is the squat sphere in this case since we are currently in sculpt mode of this squat sphere so make the radius a bit smaller by pressing f then make sure that x symmetry is enabled so everything we draw will be mirrored which will make our life a lot easier and now we start drawing simple shapes for all the major forms of the body let's go to side view and start with the head and the beak don't worry when anything is placed a bit weirdly in space this we will adjust later but remember that we will draw the shapes
05:54
from our view so adjust it when necessary change the radius of the brush to make the shapes thicker or thinner also take a look at your references and try to create simple shapes of the parts you want to include in your sculpting now there's still this squat sphere down here let's get rid of it by clicking on the edit face set tool and change the mode up here to delete geometry you can see that each shape we have drawn has a different color meaning a new face set was applied to each shape a face set is
06:25
something like a mask or a groove of faces that allows us to hide specific mesh parts or isolate mesh parts for certain actions like here deleting the geometry so simply click on the squat sphere down here and it is gone forever then let's go back to the lasso trim tool and draw the rest of the shapes make sure to change the view to draw the arms and the legs you will get used to this view changing when playing around with this tool a bit here i also draw the fingers and toes but just as a reference later i will replace them with proper objects during the sculpting
06:56
process so now all shapes are drawn and this is what we have well looks still a bit weird with these two tails and the horns being merged into each other and so on so let's adjust this a bit for that let's go up here and add the layout workspace and we automatically switch to this now we are back in object mode and all the elements we have drawn are packed into one object as you can see so let's separate these let's go to edit mode press p to open up the
07:27
separate menu and then click on buy loose parts and now all the parts were separated into individual objects as you can see up here in the outliner for example and also here in the 3d viewport we can select all of these to better see that these are all individual objects let's go to the viewport shading and under color enable random now each object is given a random color now we want to start posing the space mesh but as you can see the origin of each object is still down here where it
07:58
was originally to change this select everything right click go to set origin and then set origin to geometry now the origins are back to the objects now although we edit everything symmetrically i now want to change the objects here in object mode and everything on the other side should also change as well but since we separated now everything from each other this is not working anymore so what i do now let's delete everything on the one side also take care of the overlapping objects here in the center something like this and now with our 3d cursor
08:30
down here if it's not there press shift c let's add an empty object a plane axis let's call this one mirror select one object here go to the modifiers add a mirror modifier and then add this empty object now this empty object will be used as mirroring axis here but we can still move and rotate the object around its own origin then let's select all the other objects here make sure that the shoulder part here is still active so it's highlighted then we have access to the modifier here and then let's press
09:02
ctrl l and click on copy modifiers then from the active element all the modifiers will be copied to all other selected objects and now everything is still mirrored here and we can start shaping the stuff and everything on the other side is moving along and to make this process a bit easier you can enable the move tool up here and change the transform orientation to local to see the local axis of each object and if you want to change the origin or the orientation of the axis you can go up here to options enable effect only
09:34
origins and then for example move this to the right place and rotate the axis and then disable this to make moving this around a bit easier or if this is too much work for you we can also switch up here to the 3d cursor pivot point then with shift right click place a 3d cursor somewhere and then as you can see the transform gizmo will be placed on this position which can also make transforming the objects here a bit easier yeah now let's clean up this base mesh a bit by transforming all the objects put
10:04
them into nice positions for some of the objects scale them down like the horns for example or the toes and adjust everything until everything looks nice by the way since we will join most of the objects later on together again i save the work and don't rename all these objects in the outliner yeah and this is the final base mesh looks much better now as you can see and now we are finally ready to start sculpting and in order to do this we need to adjust the meshes here a bit first of
10:34
all we have the mirror modifier still enabled and we don't need them for all the parts which are here at the center and not really mirrored on the other side so let's select everything here in the center press ctrl a and click on visual geometry to mesh this will apply all the modifiers for all the selected objects however for these objects here on the side we leave the mirror modifier enabled so after we added the first layer of sculpting we can still move this around and pose the creature a bit differently if needed by the way let's switch the pivot point to median point
11:06
so the gizmo appears here on the objects however for all the parts here in the center we will use the symmetry function in sculpt mode however you can see the origin is now set here and the orientation is in this direction that means this will be the mirroring axis in sculpt mode which is not in the center so let's select all these objects here once again press right click go to set origin origin to geometry and in order to correct the orientation press ctrl a and click on apply rotation now the
11:36
orientation of the local axes of these objects are aligned with the global axis so and there's one other thing we need to take care of if i press n we can see that for some of these objects the scale values are not one one one and this if i take this to an extreme level and switch over to sculpt mode first we get this warning message down here but you can also see that my brush is now stretched as well that means this scale values will not affect only the scale of the object but also all the tools we are using on the object and this can lead to
12:09
a lot of problems later on that means we need to apply the scale so we say blender everything we have scaled here in object mode is now the new default scaling of all these objects in order to do this select everything press ctrl a and click on apply scale now as you can see the scale is set back to 111 and we can start working so at this point i don't want to join all the parts together and then sculpt on these i still want to be able to move everything around a bit to pose a creature so i'll leave all these objects separate except the parts which belong
12:41
to the body here so let's select all of them press ctrl j to join them now they are all merged into one object however they are still sticked into each other that means we need to remesh the whole thing in sculpt mode for that we use the voxel remesher which you can find up here or in the tool settings under remesh then all we need to do here is to change the voxel size and then click on remesh however we have to test how high or low we want to make the resolution for that in the 3d viewport press shift r and then we can see the script and
13:11
when you move your mouse around you can change the resolution and for the first sculpting layer we only want to change the major shapes without going into the details so let's score with something like this and then either click here or press ctrl r to run the remesher now as you can see everything is merged and we can start sculpting maybe let's switch over to the sculpting workspace and here in the viewport shading enable random color as well and now i'm usually using two brushes the clay strips brush which allows us to
13:41
quickly add new geometry or remove geometry carefully and the grab brush which we can also enable with g to grab bigger chunks of that geometry and no matter what brush you have selected you can hold down shift and smooth out the geometry and this is mainly what i'm doing now i'm also taking a look at human anatomy references which helps me to get the basic idea of these different shapes and this is now what i do with each of these parts by the way i would recommend to use the same resolution for all the different
14:13
objects so what we can do let's go to remesh by hovering my mouse above this press ctrl c to copy the value and now there's a cool experimental feature to switch to different objects without always switching over to object mode select the different object switch over to sculpt mode this only works in blender 2.93 alpha or probably the stable version of blender 2.93 if they don't postpone this tool to a later version but maybe this is already enabled by default if you are using a later version then 2.93 press f4 then
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click on preferences then go to interface enable developer extras then go to experimental and enable switch object operator and now if i switch over to scalp mode i can hover my mouse above any of these objects and press d to switch to the scout mode of this specific object which is super fast then here let's paste the value by hovering my mouse above this press ctrl v and then click on remesh and if you quickly want to smooth the entire object you can use the mesh filter down here
15:16
change this to smooth and left click and hold somewhere and move your mouse to the right or to the left to smooth this and if this part now gets too small you can change this to inflate left click and hold and make it bigger then press g for the grab brush and change this around so that the whole shape looks nice and one little note here since we are still having the mirror modifier enabled here which allows us later on to move this around still in object mode and to reflect the changes on the other side as well everything what we are sculpting on
15:47
the one side will be mirrored on the other side anyway so we can disable x symmetry up here and by the way the x symmetry up there is an object-specific setting so if you are changing over to other objects this might be enabled again so make sure to disable this if needed and now enjoy a quick time-lapse on where i adjust all these parts here on the object [Music]
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so [Music] so [Music]
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yeah and this is the result after the first sculpting layer and as you can see everything is still relatively rough i just have the major shapes here and no details and the resolution is still relatively low so and only when you have the major shapes in place and you are happy with these it's time to move on with detailing next i wanted to have everything ready to go over to define the shapes more with a higher resolution for that i added a simple eye created out of a uv sphere with one ring around the iris so
18:58
we can better see where the eyes are looking at and i used the same mirroring trick as for the base mesh using the mirror modifier and the mirror empty object at the center of our scene then i placed it on the right spot and sculpted some basic eyelets around it after that i wanted to replace the ugly fingers and toes with proper shaped ones for that i created an edge and put the skin modifier on it which generates a mesh around the edge now with x-ray enabled up here we can adjust the edge and shape the finger accordingly and with the
19:28
sub-surf modifier on top i smoothed this out a bit so it looks much better with one or more vertices selected in edit mode we can press ctrl a and scale the skin modifier mesh around the vertices with the mirror modifier trick we have used before i mirrored the finger and then i just copy and duplicated it for the whole hand and for the toes on the feet and now we are ready to continue the next sculpting layer with a slightly higher resolution first i joined the upper and lower arm and the upper and lower leg we meshed them with a slightly higher resolution
20:00
and then it was about refining the shapes even more here on the feet in order to flatten the lower part of it so that it could stand straight on the ground i used the line project tool to cut a clean straight line then i added some more details on top and by pressing m using the mask brush and masking out the bottom of the feet i could change the top of the feet without moving the bottom part which is very useful all in all the draw sharp brush is my brush of choice when adding creases to the body because it's not pinching the geometry
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like the crease brush of course in some cases the crease brush is also very useful again my reference board in pureref was a great resource to look up some anatomy references of creatures which helped me for the feet hands and the arms and legs especially then i did a quick up of the arm and we are ready for joining the toes for that i applied the modifiers of the toes and then joined them to the legs and remeshed them using the voxel remesher this time again with a slightly higher resolution to add even more
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details especially when working on the thin fingers and toes we need a higher resolution otherwise we might lose some details when remeshing or maybe we even merge close line geometry in a ugly way so always play around with the resolution if it's too high or too low just undo it and then try a different resolution and remesh again yeah and then i added some more details to the feet if you realize that your toes are not rotated correctly you can add a quick mask down here by moving the mouse to
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the tip here pressing shift a then add this topology mask around the toe then use the pose brush and then depending on the size of the brush we have this line here if it's too short you can also zoom back a little bit and then we can just move it around as if there was a bone inside and then you can move it down or up and of course you can also make it shorter if you only want to move the tip of this toe here however the mask prevents us from moving the other toes if they are in the range of the brush
22:02
here with alt m you can remove the mask again we will learn a bit more about the pose brush later in this video yeah and the same workflow i used for the fingers and the hands as well meaning i applied the modifiers of the fingers joined them to the arms and then re-meshed it with a higher resolution and then added the details and this is what we have so far looks pretty decent already we are slowly getting there now it is all about getting the sculpting polished in order to move over to the retopology stage afterwards so i
22:34
joined the arms and the legs to the body then i remeshed everything again with a slightly higher resolution and then i began to polish everything to a kind of final stage except adding the very high details like the skin details for example here i mainly used the clay strips the drawer sharp and the smooth brush so nothing special these are the brushes i mainly use all the time then i define different details like here for the body and then i used a cool trick to pull out
23:05
these fin like shapes first i drew a thin mask using the mask brush along the lower body then with ctrl i i inverted the mask meaning that i can only manipulate the thin line across the body and then with the grab brush i pulled out the geometry without m i can remove the mask then after some more refinement i did the same thing for the back of the creature and here also for the tip of the tail and this here is a result after this
23:46
sculpting stage for creating the nails or the claws i added some face heads to the tip of the fingers and the toes in the shape of the nails with holding down shift i could easily straighten the edges of the face heads resulting in these nice clean lines now i want to generate a new mesh out of these face heads but since all of the face heads have a different color i can't do it all at once and i don't want to separate all of these nails individually so what we can do let's
24:17
hover our mouse above the body here and even though this is just the default gray color this is also a face set so we can press shift h while hovering our mouse above the body then the entire body face head will be hidden and we can only see the nails here and now if i hold down w then this face heads edit pie menu opens and now let's hover our mouse above face head from visible and release the w button and now all the visible face heads will be merged into just one facet now let's press alt h to
24:48
unhide the body collection and now let's zoom in here a bit then click on face sets and click on extract face set now this eye dropper appears and now let's click on one of the nails and this will generate a new mesh as you can see here and we automatically switched to object mode then if we switch over to the modifiers you can see that this solidify modifier was added here we can change the thickness of the nails first of all let's change the offset to zero so it's basically kind of sitting on the surface
25:18
and not inside and then let's change the thickness to something like 0.05 but this tool looks a bit weird the edge is too sharp so let's add another modifier the smooth modifier and let's repeat this 10 times so it's a bit smoother and the resolution doesn't look so nice so let's add another modifier the remesh modifier which has this voxel option as well so let's decrease the voxel size here to something like 0.01 and then we can see them and this looks much better now all we need to do with
25:48
the nail selected ctrl a and go on visual geometry to mesh to apply all modifiers and then let's switch over to sculpt mode in scope mode i remeshed it again a bit higher since i felt that the resolution is not high enough then i used the mesh filter with the smooth option to smooth them out even more which also shrinked them down a bit then i used the grab brush and change the falloff up here to sharp so i can pull out these sharp tips of the nails after that i adjusted the top part of the nails to better move
26:19
into the finger and with a smooth brush i adjusted the shape a bit and made them a bit smaller then i used the same technique for the nails at the feet as you can see here again here i don't wanted to add the final detail level to the nails just the major shapes should be in place then it was about time to add the first detail level to the horns mainly i adjusted the shape a bit and drew a sharp line around the horns again here i used my reference board as inspiration for the horns and the very fine details
26:49
i will add later after that i added this first detail layer to the beak first i added some lines with a clay strips brush and smoothed them a bit to give it a rougher look and with the grab brush and the sharp falloff enabled i added these tees-like shapes here and then i added a hole for the nostrils and i realized that i didn't like the shape of the beak too much so i changed the falloff of the grab brush back to smooth and adjusted some of the bigger shapes again until i was happy after that i adjusted the lower beak in a similar fashion
27:20
and change the line around the beak on the head a bit after some final tweaks on the body here and there i renamed all the objects in the outliner so i know exactly which object is what and this here now is the final result before we now go over to the retopology stage as you can see every shape is pretty much defined so we don't want to do any big changes anymore however the very fine details are missing which we will add after the retopology stage
27:50
now it's time for retopology here we have the sculpted mesh which has a quite high resolution and their topology meaning the flow of the mesh is not ideal that means we now have to trace the geometry with a much lower resolution mesh and with a good topology this step is usually necessary to create a proper mesh that can be textured rigged and animated later on in our case we want to create a static sculpting so retopology is an optional step however here i still need a retopology mesh for
28:22
two things first i want to use the multi-resolution modifier to add very high details for that a quad-based proper topology leads to a much better result with a clean smooth surface and second i want to use the pose brush later on to pose the creature a bit and since the ritopo mesh will have a much lower resolution we can disable the multirest modifier with all the high details pose the low res model quick and smoothly without a slow running viewport and then turn on all the details again
28:52
and we will have all the nice details and a post creature now how to re-to apologize well there is a manual workflow however this workflow is a very time-consuming process which some people hate and some people love i'm more on the loft side however this is mostly used when you want to create a proper high quality mesh for production however since here we don't want to create a creature for production but rather aesthetic high quality sculpting we don't need a perfect returbo mesh so i decided to speed the whole process up
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like a million times by using an auditory topo tool in general if you are interested in the manual retopology workflow either check out my blender sculpting course there i will add a full chapter on this topic very soon or let us know in the comments below if you want to see some free videos about this subject here on youtube so what auto returbo tools we have first of all blender comes with the free quad reflow remesher which sometimes works but most of the time not really as you
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can see here as a good quick free alternative i would recommend the standalone tool instant meshes you can find the free download link in the video description below it's really nice you have to export your model and re-import it into blender though but in general it gives a pretty nice result there are some tutorials online so we won't go over it here because instead of instant meshes i used probably the best auto retuple add-on which is currently available for blender the quad remesher
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unfortunately it's a paid add-on however in my opinion it is worth every penny when you think about the fact how much time it can save you and you can't buy time with any money on the world so that's something when you check out the website there are different options for commercial and personal use with different price tags and if you're not sure if this tool is what you need there's also a free trial to test it out so check it out link down below in the description this tool allows to create a more than
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decent looking returbo mesh with more or less a single click when you have the add-on installed select the mesh you want to re-tuple open up the sidebar with n go to the quad remesh tab and just enable x symmetry to get a symmetrical mesh and then define the quad count up here meaning the final poly count the new etobo mesh should have here i usually start with a default value of 5000 and if the result is too high or too low i undo it and then change the value and re-measure it again however in this case the 5000 were
31:27
perfect so look at this awesome result oh man unbelievable then i did the same for all the other objects like the beak the horns the nails but this time with a much lower quad count of course because the objects were much smaller and the whole process which when you go the manual route can take you hours just took a few seconds for me mind blowing so no matter what retopology method you're using make sure that you still have the original sculpted mesh in your scene if necessary meaning if the
31:58
retopor add-on removes their original sculpting make sure that you have a duplicate since we still need it in the next step for the multi-res modifier reprojection so now up here we have a collection with the base sculpting and one collection with very toppo mesh as you can see i didn't re-topo the eyes because i just want to leave them as they are and if necessary we could replace them later on anyway since we don't want to add any sculpting details on them so now i want to add the multi-rest modifier so let's
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click on the body here go to the modifiers add the multi-rest modifier and then let's hit the subdivide button a few times for now let's do it four times but i add another level later on however you can now see that we still have kind of the shape of the sculpting however it looks much smoother so we lose a lot of details we had in the original sculpting as you can see here in this direct comparison so what we need to do is to reproject the new
33:00
mesher onto the old sculpting and this we can do with a shrink wrap modifier so let's move this up here a bit and let's add the shrink wrap modifier then up here let's open up the base sculpt collection click on this eye dropper and in this case click on the body now if i hide the base sculpt here you can see that the shrink web modifier is wrapping the new mesh around the old mesh so we have all the nice details however it might be that we have some little glitches here and there and that's why i would recommend to change some of the
33:31
settings here in the shrink web modifier first of all the wrap method changed this to project then it gets even worse however you just have to check negative so it's projecting the mesh in both direction the positive and the negative direction and that's basically all you need to do then everything should look pretty nice and now comes a cool trick when i go into the shrink web modifier and here click on this arrow and hit apply it won't be applied on the base mesh however all the deformation will be stored in the multi-res modifier that
34:03
means if i disable the multi-res the original retopology mesh hasn't changed at all however we still have all the details from the original sculpting and after that i could just delete the original sculpting if i like and then continue the work on this meshier yeah and the same workflow i use for all the other meshes here so first of all select the beak add the multi-rest modifier subdivide it four times then add the shrink wrap modifier change the red method to project enable negative and as target use the beak top
34:35
then hit apply and that's everything and the same thing i quickly do for the other objects yeah now i reprojected everything of course in this case now i would probably move the ice into the ritupo collection so it doesn't look too creepy then disable the base sculpting collection or delete it but i would save a backup file of course and then we can continue adding the very high details to their sculpting now i added the first layer of the very high details for that i left the
35:05
multiverse modifier at four subdivisions and i used mainly the crease brush and some other brushes like the clay strips brush and the grab brush to add finer details so here i just used the basic brushes without any special settings so in general i added a lot of tiny creases here and there to make the sculpting just look more high resolution as inspiration here again i used my reference board in puref so and since this is just a very creative process let's enjoy a quick time lapse
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[Music] [Music] [Music] wow [Music]
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[Music] so [Music] wow [Music]
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so this is the result i have so far but now i want to go one step further meaning i have the body selected here and let's subdivide the multi-res even more so that we have 5 subdivisions because now i want to add even more details like the very tiny skin details and for that on the one hand i still use the draw sharp brush to add like these very tiny and sharp creases however i also use two setups for adding the skin details the first and easy setup let's
38:28
go to the sculpt draw brush to the brush settings over here and first of all let's duplicate the brush so that we still have the original and let's call this something like skin jitter then let's go down here into the brush settings stroke and simply increase the jitter if you like you can also enable pressure sensitivity over here so that when you're painting with a pin you can define how much jitter it should be when you press harder or lighter on your graphics tablet now as you can see it's creating these random dots and this is
38:58
very nice to add some skin details here on the surface but if you just want to add like a few bigger dots you can also increase their spacing up here then as you can see we just can create a few dots and depending on the brush size you can make it bigger or smaller and if this is still too much you can always increase their spacing here and this is really cool to add some like bumps here and there on the surface and later on on the beak i also used the same technique but invert it so you can also hold down ctrl and invert this effect as you can
39:31
see over here let's get back to the body here and i also wanted to add skin details using a texture brush for that let's go back to the sculpt drawer brush and also duplicate this let's simply call this skin go down here to texture click on new let's call this skin as well and in order to add a texture click on this button here and then click on open then navigate to your sculpting brushes these here by the way you can download in our blender resource section which you can sign up for free link is
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down below in the video description however you need an email to sign up so and here we have this simple skin brush which is basically just a black and white texture of this reptile skin let's hit open then let's go back to the brush settings and here let's change a few things first of all let's change the mapping to area plane so it's basically similar as the brush adjusting along the normal of the surface so we don't get any weird stretching and then i also enable random that with each dot the stroke is creating the texture will
40:32
rotate randomly so now we can draw along here and this will add this random skin details however if you feel that this is too much then you can go down here to the stroke again and simply increase the spacing so there's a little bit of space between each dot of course not too much something like this should work and of course we can reduce the strength quite a bit and by the way when you're zooming in and zooming out and if you want to make sure that the brush stays the same size so no matter if i draw from here or
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from here the skin details should always look the same for that simply switch the radius unit to scene then as you can see the brush will scale according to how far or close i am to the sculpting here and then i can simply add the skin details and i can switch over to the jitter brush and add these random dots and as mentioned the draw sharp brush to add these very tiny creases here and by the way if the draw sharp brush is a little bit slow you can also go down
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here to the spacing of the stroke and increase this a bit and the higher you make it the more fluent the stroke will be because there will be less dots blender needs to calculate of course if you go too far then at some point you can see this dotted effect here which is not so nice so play around what works for you but the higher the value is the more smooth the stroke will be yeah now let's enjoy a quick time lapse on where i add these details [Music]
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[Music] [Applause] [Music] so [Music] so [Music]
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yeah and this is now the result with the very high details as you can see so we have all these nice skin details and these little creases and bumps all over the place so the sculpting phase is done however the creature still stands in this kind of a pose and i want to pose it a bit more naturally of course we could add a new armature system with bones and bind the mesh to the bones and then pose it which of course gives us a bit more flexibility however this can take a while to set up so in this case i want
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to use the pose brush over here however before we can use this properly we need to add some face sets but before we do that let's quickly switch over to the layout tab and adjust the model here a tiny bit you can see if i select the body here this creature is now nearly 8 meters high which is like super huge and i want this creature to be roughly a human size so let's scale it down just to avoid any future problems it's always nice to work in real world sizes especially if you plan to use any
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simulations or modifiers and stuff like this so this can always help to avoid future problems and for the posing later on in sculpt mode it is also necessary that we join all the objects here to one mesh first of all let's have a look at the eyes we're still using the mirror modifier here let's apply this and let's get rid of the subsurf modifier and then let's select all the objects here also the nails and then with shift the body here and since all of these objects except the eyes in this case are using the multi-rest modifier with the same
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subdivision joining these objects is not a problem so let's press ctrl j to join these and as you can see now we still have all the details on the different objects now let's press s to scale it down and let's have a look at the z dimension here so that we have about two meters then from the front view let's move it down here something like this so that it is basically standing on the red axis here and from the side view let's move it to the front here a bit and then let's reset the origin which is
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currently up here down here and to the center of our scene make sure that the 3d cursor is here if not press shift c and then right click set origin origin to 3d cursor now the scale is wrong here so let's hit ctrl a and apply the scale and now we are ready to start preparing this for posing for that let's go over to the sculpting workspace oh look at how tiny this little creature is now no actually it's two meters high still pretty big so of course we don't want to pose a creature with the high resolution
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on you can see the brush runs pretty slow here so let's disable the multi-res modifier and this is much better and now we need to draw some face sets to define different body parts for that let's click on the box face set tool left click and hold and then click on the lasso phase set tool i have x symmetry on here and over here i make sure that front faces only is disabled and now we can simply draw these lasso around different areas to create these different face sets so
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first of all let's do some rough facets here and then if you want to tweak this a bit go to the face sets tool then hover above this gray area hold down control and then we can extend the gray area here so we can basically erase something from the orange face set same over here hold down control above the orange one then we can paint something away from the blue one here then up here let's draw one facet around the head then another one around the neck here and by the way if you don't accidentally
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want to paint the other face heads which are done already you can press shift h and hide these and then as you can see we can easily add more facets here without getting into trouble yeah and after i have drawn all the face sets this is what i got here now let's go over to the pose brush and first of all let's change the rotation origins to facets fk and this now when we hover above one facehead places a kind of bone inside this specific facet and since we
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don't wanna pose the creature symmetrical here let's disable x symmetry up here and now depending on which side you place your mouse you can left click and hold and move the body part around now you can see the nails won't move along with a hand to avoid this disable connected only here and now as you can see the nails will move along with a hand you can see that on the transition to the other face head it is now smoothing out the area here if this is too strong for you you can turn down
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the smooth iterations you can see then it's a bit harder also sometimes as you can see it's not working properly so you really have to make sure that you are at the right spot on the model in order to make this work and now if i click over here for example i can move the lower arm including the hand if i go up here i can move the upper arm and so on and so forth and if this way of posing the creature is too limited for you you can also switch over to face sets and then we have this post ik segments option and in this case i want to have three
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segments for the arm then let's move down here and you can see it creates a bone chain into the whole arm and now if i move this around you can see it's moving like an ik rig which is pretty cool also works here on the other side and the same down here on the legs for example it's a bit harder to control so i would definitely recommend to also use the face sets fk option from time to time to adjust everything a bit more then for the tail we of course don't want to have harsh bending what we can
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do let's of course switch back to the facets ik option down here and we have one two three four five parts so let's increase this to five ik segments and now if i go in here if it's not picking the right one make sure to scale down the brush a bit then it should work and now you can see the bending is pretty harsh in this case increase their smooth iterations quite a bit let's try 10 for example it's still not smooth enough so let's go with 20 here
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and as you can see this looks pretty good already it's not perfect but this way we can easily pose like a more organic shape yeah and this here is the final result i had after the posing then of course we can turn on the multi-res modifier again and if you want to stay in sculpt mode and the face sets are in the way but you don't want to delete them then you can go up here to the viewport overlays and disable the face sets or if you like you can also simply lower the opacity here
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so guys this here is the final sculpted creature looks pretty decent in my opinion compared to our very first base mesh and by the way when we zoom in here we can still see all the individual faces so with a select everything right click and click on shade smooth that looks much better and after i was done with sculpting i decided it would be cool to test out to give this creature a little jacket which i created here and although this was just a test i liked it so much that i just kept it i don't want
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to go in how i created this completely but here just a quick overview let's disable all the modifiers here it's basically just an extracted face set similar as we did for the claws down here then over in sculpt mode i painted in some face sets here on the seam areas and then i used the claws filter and the filter type set to inflate and over here i set the options auto masking to facets and then i could make the whole jacket thicker without
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affecting the other face sets over here and this i did with a multi-rest modifier then i have drawn in some more folds here and there and an object mode with a solidify modifier and after that a subsurf modifier it looked like this then i added a simple zipper using a curve and up here this little thing which i quickly modeled yeah and now you know how to create high resolution sculptings in blender yeah guys and girls i hope you enjoyed this video if so give it a like and subscribe to the channel and ring the
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bell if you don't want to miss a future video if you have created anything by following this video here share it with us on social media or in the comments below i would really love to see what you create all the links are down below in the video description remember you can download the project files for this video and our regularly updated blender shortcut pdf in our resource section at cgboost.com resources an email is required to sign up and if this was a bit too advanced for you as mentioned i'm currently updating my blender sculpting course which teaches you
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everything important about sculpting in blender meaning there is no blender sculpting knowledge required to get started so it also includes a full introduction not everything is fully updated yet but i will add a lot more content in the coming weeks and months the link to the course is down below in the video description that's it thanks a lot for watching guys and girls and i will see you in one of my next videos goodbye [Music]

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